Aeoga – Obsidian Outlander

Aeoga – Obsidian Outlander CD Aural Hypnox 2017

Along with Halo Manash, Aoega are one of the original projects to be first released on Aural Hypnox back in 2004. Obsidian Outlander is their fourth album and comes three years on from 2014’s Temple Treye release (reviewed here).  While earlier Aeoga output is categorised by the focus on prominent percussive and ritual elements in combination with forcefully driving drones, Obsidian Outlander has a slightly less of an overt ritual bent and has more of an affinity to minimalistic dark ambient/ drone (…and perhaps of the likes of Troum). Although this minor identified deviation of sound might be ‘splitting hairs’ over current sound and direction, yet nonetheless is an impression which has remained during the review process.

Initiatory Boil opens the album and is a track of rattling percussive implements and loose rolling floor tom drumming which underpin an ethereal melody, while the following Rot Magnetism is far sparser with its deep bass addled drone and organ style melody (…and includes what may or may not be treated vocal chants).  The pairing of the two rather short tracks The Black Loom and Obsidian Towering sit at the centre of the album, where each contain the feel of a live recording and therefore perhaps sits more towards the overt ritual sound of earlier works (…the first with its cavernous floor tom percussion, sweeping ritual vocals and sparse synth elements, and the second being a minimalist and predominantly based around layered vocal hums and chants). As for the title track features as a lush but ominous drone-scape, which is orchestrally tinged and completed with ethereal disembodied vocals, which builds and swells as the piece progresses (…and easily the album standout). Rounding out the album is The Sublime Canvas and again sits squared within a droning dark ambient frame of reference, but also includes a prominent discordant organ element which builds to a number of imposing crescendos throughout.

With only 6 tracks covering 30 minutes of music, the slow pacing certainly draws you in, but then concludes far too soon given the run-time is more of an EP length than a full album (…and this alone impacts on the degree of aural immersion to be achieved).  But run time aside, as with pretty much all material issues by Aural Hypnox, this is strong and very enjoyable ritual dark ambient/ drone album. Available on both CD and vinyl, which incidentally is the first vinyl release for the label, and both featuring beautifully screen printed artwork and inserts.

Rats For Serpents Spotlight

 

Pterygium – I Abandon Myself, I Become Myself MC Rats For Serpents 2017

Haraam – Al-Arba’Ru’Us MC Rats For Serpents, 2016

Broken Fingers – Jumonji Girl MC Rats For Serpents 2017

Rats For Serpents is a new Australian micro-tape label launched in 2016 and which focuses in the more difficult end of post-industrial listening, and although having only issued five releases issued to date there is clearly some interesting fodder on offer.

Pterygium is up first, where I Abandon Myself, I Become Myself is not a new recording, rather features material from 2013 which has been edited and assembled in late 2016. Differing quite significantly from the recent new recording (reviewed here), this industrial/ noise material is loose, rough and semi-improvised in feel. Commencing with a catatonic pace, and with a strong ‘basement ambience’ vibe, it features a murky grey to pitch black sonic tone. Gradually the piece evolves with forceful revving sounds and choppy noise squalls with scatty angular textures, and in the later segments some barely detectable processed vocals make an appearance. I get the feel that this material has perhaps been cut together from a diverse range of different recording experiments/ sessions, and although evidently featuring two untitled tracks, I could not pick an obvious break from one piece to the next. In then making reference to Pterygium’s latest release Grip, it must be said that this tape pales in comparison to the current sound, but these earlier recordings are interesting to see the evolution of the project.

Up next is the obscure project Haraam and seem to inhabit a midpoint between throbbing lower end noise and abstract dark ambience, which is loose and sprawling in scope. With the cover also featuring the tag line of: “Ultraviolent Capitalist Solutions For Ultraviolent Ideological Problems”, it is perhaps indicative of an oblique conceptual underpinning. Four tracks are featured which variously incorporate elements of bass rumbling soundscapes, muted blast furnace eruptions and sweeping widescreen moments, which are occasionally infused with (unidentifiable) field recordings. A positive sense of focus, direction and drive is featured which swings between minimalist and at other times chaotic, and while overall the tape is a decent one but the same time not genre defining or particularly mind blowing.

Third and final tape is from Broken Fingers and across its four tracks the most sonically diverse and original of the bunch.  ‘Indignation Death’ leads off and is a cinematically tinged experimental dark ambient piece with orchestral synth textures, sweeping bass drones and layered elements for added complexity, to create an excellent moody and restrained offering. Cross-Shaped Cut take a step up with some hard poly-rhythmic programmed beats and driving loops to create an excellent track of industrialized techno (i.e. Alberich comes to mind), which become looser and more chaotic as it progresses. Shadow Belly deviates yet again with a tribal industrial soundscape including Japanese chants, ritual percussion, washes of distortion and idling noise. Forth and final track Death Of Understanding is perhaps rather pedestrian as the start (i.e. a straight forward industrial noise workout), although thankfully shifts gears to more interesting with sampled Japanese dialogue and smatterings of Asiatic percussive elements in mid track extending through to its conclusion.

As alluded to above the Broken Fingers tape is the pick of the bunch based on its sonic diversity and overall originality. Packaging wise each tape feature dual sided, 4 panel photocopied cover inserts, housed inside a snap-lock bag and finished with ‘punch label’ sticker for a finish touch. Overall Rats For Serpents sound and aesthetic is worthy of investigation if any of the above sounds of interest.

Pterygium – Grip

Pterygium – Grip MC Algebra of Need 2017

Pterygium are an Australia based solo project of Hank Gillett who recently had an excellent contribution on the Tesco Organisation Projekt Neue Ordnung II 4xLP boxset.  Noting also that I have previously reviewed Pterygium’s debut tape The Revival Of Unwritten Laws (reviewed here), while it was an interesting in concept and stylistic execution, at the same time was not a release that I returned to for multiple listens. However with Grips substantially differing in sound and approach to the debut, it has resulted in a tape that has been on high rotation for the last month or more.

In an attempt to categorise the sounds on Grips a general descriptor of ‘dark ambient meets industrial noise’ might be a good tag to apply given its multi-layering and dual focus of the majority of compositions.  Effectively the tracks are doubled-edged where maudlin elements mix with the abrasive; and the minimalistic yet melodic tones blend with sharper distortion squalls.  A comparison to other artists like Ke/Hil or Damian Dubrovnic is then highlighted, but not so much for sounding anything like either, rather Grips is similar by virtue of its cold, clinical and controlled approach, and where layers and loops are added and sub-tracked with clear compositions focus and intent.

The Male Antipathy leads off the 6 compositions with deep grinding drones, mid toned synths, yet the rising layered washes of static push the piece into headier territory.  Facult of Rapture then follows a similar trajectory, yet the distortion of this piece if heaver and more invasive. Playing with sonic depth and sparse composition A Child Council is an excellent example of sonic restraint to generate is maudlin atmosphere (…although the sharper static briefly makes an appearance late track). In the later part of the tape fractured minimalist rhythms, morse code blips and floating synths form the backbone on Quitting Towards a Solid Surface, while Drainout Extort is perhaps a standout for its sparse and meandering dour cinematic/ sc-fi type mood.

On Grips Pterygium have opted for an instrumental approach which is considered, refined and delivered with clear artistic intent, which is in clear contrast to some current current strains of underground post-industrial music which churns pure filth and nastiness. With its 6 tracks spanning a mere 34 minutes, the play time is short and leaving me wanting more (…much more in fact), but this is a far better position to be in rather than dealing with a release which simply drags for being overly long.  Don’t let the obscurity of the project or label deter you, this is high caliber stuff.

Dødsmaskin ‎– Fullstendig Brent

Dødsmaskin ‎– Fullstendig Brent CD Malignant Records 2017

Dødsmaskin (…translating to ‘Death Machine’) are new project and signing to Malignant Records. ‘Fullstendig Brent’ is the debut from this Norwegian duo, and from a geographic perspective Norway has far less of a profile than say Sweden when dealing with this type of music. Thematically the album then deals with 17th Century witch trails, with the title translating to an approximation of the English words ‘holocaust’ or ‘completely burnt’ provides further conceptual context for its darkly hued drones and jaggedly erupting post-industrial soundscapes.

Crackling fires samples underpin the majority of the opening track ‘Baldom’, which is coupled with an archaic and forlorn atmosphere driven by a maudlin violins, mid track dour synth melody and later segment of intense fire blasting factory floor ambience (…aka solid death industrial). ‘Heksetimen’ follows with an offering of hollow, grinding drones and mood of lurking malevolence (…again with fire samples featuring as a prominent and consistent element), where this track also follows the format of the first track by evolving into a slow, pounding death industrial soundscape. ‘Christoffering Orning’ is the 10 minute centre piece, which commences with chanted religious proclamations, prior to leaping into a cinematically tinged, throbbing post-industrial soundscape with the anguished wailing a lone female (…clearly representative of the torture of an accused witch).  After the grinding intensity of this track, ‘De Ti – 1621’ takes a more atmospheric route, with a sparse echoed dark ambient soundscape, with floating female vocals (…but mid-track this also drives towards a grinding death industrial frame). For the final of the 5 tracks ‘Dømt På Sitt Liv Til Ild Og Bål’, it perhaps demonstrates the greatest degree of restraint with a distant tolling bell, manipulated micro-tonal textures, and a final segment consisting of a ‘duet’ between sparse strings and a tragically toned piano melody.

With ‘Fullstendig Brent’ featuring 5 tracks between 7 to 10 minutes each provides an overall run time of 42 minutes, yet given the presented material is varied and highly detailed in sonic scope the album feels much longer than this (…this observation is meant in a positive light). In sonically articulating its heavy weight theme, the means of recording is highly detailed, nuanced and expertly constructed, where passages of relative calm provides for balance and relief from other passages of highly tensile atmospheres. Likewise ‘Fullstendig Brent’ is noteworthy in that achieves a cinematic soundtrack feel (…rather than a more typical ‘song’ oriented framework), and consequently has resulted in a divergent and high caliber death industrial offering.

Anima Nostra – Atraments

Anima Nostra – Atraments CD Malignant Records 2017
The collaborative duo of Henrik ‘Nordvargr’ Bjorkk and Margaux Renaudin have returned and in building upon 2016’s album ‘Anima Nostra’, that title has now been adopted as the as the moniker for the project’s continuation. Although taking clear cues from the debut (reviewed here), this sophomore album demonstrates a refinement and streamlining of musical approach. While also broadly drawing influence from the multi-faceted approaches of Nordvargr over his career to date, the involvement with Margaux Renaudin allows the music to chart new stylistic territory.

Rooted in the post-industrial crossroads of dark ambient, black industrial and neo-classical, ‘Atraments’ is still more varied and complex than those genre tags might suggest. Being musically focused and almost soundtrack in stylistic orientation, Anima Nostra’s compositions are darkly cinematic in scope. Driving martial percussion and slow distorted guitars loom large on selected tracks, which clearly nods to influence from blackened, doom-drone spheres. Yet these ‘band’ instruments are wielded in an heavily abstracted way, where the music never sounds like an actual ‘band’ (…and thankfully avoids any feel of constituting a metal pastiche, or a dreaded industrial/metal hybrid). Further textural variation comes in the ritualised elements such as gongs, chimes, meditative chants, choral chanting samples and treated vocal proclamations, which are combined with shrill strings, drawling brass horns and organ dirges which all woven together into a dense post-industrial sonic tapestry.

During a couple of moments a comparison with Trepaneringsritualen comes to mind, particularly given the use of gruff yelled/ sung vocals and rhythmic/ tribal styled framework (…such as is found on ‘Anima Nostra’ and the final cut ‘The Seal’, but within the context of this album the sound is more polished and refined). For further comparative purposes ‘Atraments’ also sits within the same general sonic sphere as late era Mz.412, yet the sound charts its own individualistic direction, with is powerful atmosphere articulating its own form of grim esoteric spirituality. Despite the sheer number of albums Nordvargr has been involved with over the decades, this is yet another album and project which has struck gold, thus making Nordvargr and Margaux Renaudin akin to modern day sonic alchemists. Recommended.

Anemone Tube – In The Vortex Of Dionysian Reality

Anemone Tube – In The Vortex Of Dionysian Reality CD Blossoming Fern 2017

Noting that a 20 minute cassette EP was issued in 2015 under the same name, this is not a simple re-release on a new format, rather it represents the augmentation and expansion of that material into a 44 full length album (…through the inclusion of 4 new compositions and a reworked version of the opening track).

Within the review of the original tape (located here), some of the observations made included: “…it is a further display of Anemone Tube’s particular style of harmonic/ disharmonic infused dark ambient/ industrial music”; and that it was a: “…demonstration of Stefan Hanser’s ability to create deeply evocative soundscapes built around melodious elements, sculpted field recordings and squalling feedback”.  Those comments still stand here and equally can be applied to the new material which follows the same sonic template. The entire album has then been re-mastered by Hunter Barr (of Knifeladder, Black Light Ascension etc.), which has given it a notable different in sonic edge when compared to tracks features on the original tape (i.e. a tonally sharper yet more spacious mix).

Without going into a track by track breakdown, the material based around a blend of looped and processed field recordings and orchestral oriented synth pads which combine to creates an overall mood which is beautiful, tragic and forlorn in equal measures.  A dual nature to the sound is also displayed through the balancing of disparate elements, where compositions are underpinned harmonic synths, and then offset by washes of higher pitched disharmonic noise and tonal drones.  With the inclusion of 4 additional tracks, these fit seamlessly into the framework of the balance of the tracks, and never stand out of feel like awkward additions (…in fact I had to compare the run order of both the original tape and this CD to work out where the new compositions had been inserted).  As for the final album track ‘Like The Streaming Of A Giant River, Life Is Passing, Without Ever Turning Around’ this is contributed piece from the Ukranian project Monocube who have composed their track from field recordings made by Anemone Tube and slightly deviates in sound based on this external influence and input, given it is more geared towards a ritual and tribal infused drone type approach (…although the harmonic/ disharmonic elements retains a familiar edge).

Presentation wise, the 6 panel fold out sleeve is beautifully designed at the hands of Stefan Hanser (aka Anemone Tube), and includes quotes from Friedrich Nietzche and Friedrich Schlegel to further flesh out the conceptual framework of the release. Another excellent addition to Anemone Tube’s discography.

Note: An LP version is also available but features a different/ replacement second track.

Claustrum – Funeral Fugues & Reminiscence † 1992-1997

Claustrum – Funeral Fugues & Reminiscence † 1992-1997 CD Old Captain 2016

Claustrum are a Latvian project whom I am not at all familiar with, despite it seeming they have been around since 1992. But according to what background details I could dig up, evidently their sound has evolved over the years to include: dark ambient, industrial, neoclassical, martial industrial and power electronics.  As per the (perhaps obvious) title, this album collects together 18 selected tracks from the first 5 years of the project.

Although featuring early Claustrum material, this includes material which is well above what you might usually expect from the fledgling steps of an artist, and covers some stellar dark ambient offerings and more fully completed neoclassical tracks. Contextually speaking about the first half of the CD features sacral dark ambient type tracks, and in more than a few fleeting moments brings to mind the likes of the highly regarded Raison D’etre, (…particularly with the use of church bells, sampled/ manipulated choir chants and dank subterranean atmospheres etc). But this is not a case of Claustrum drawing direct influence from Raison D’etre, particularly given that both projects commenced in the same year of 1992, therefore they both clearly evolved a similar sound in isolation of each other.  On the later half of the tracks, a greater proportion shift towards neoclassical expression and features more heavily composed tracks which range from funeral organ dirges to rousing martial driven pieces etc. Regardless of styles covered, all of the featured tracks are on the shorter side (…given none exceed 6 minutes and most are around 3 to 4 minutes each), which provides the feel of short musical sketches rather than a holistically composed album, yet the musical flow still manages to meanders between pieces without jarring the general mood and atmosphere. Perhaps the only real musical missteps of the album is the darkwave styled ‘Instrument of Cacophony’ (…which include guitars and sung vocals), which to this ear sound clunky and awkward compared to the rest to the material, while some of the neo-classical elements do suffer from an overtly synthetic edge (…but is more of a minor observation).

As with most Old Captain releases, this has been issued as a cleanly designed digi-pack in a small edition run (250 copies here), which clearly functions to provide the label flexibility and scope to issue interesting obscurities such as this.